2019-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/696250「聲音創意開發與集體實踐」課程設計與研究 依據心理學家的研究，人類的溝通百分之六十五來自非語言的互動，同樣的文字以不同的聲音表情呈現會導致截然不同的效果，足見聲音在溝通上扮演的關鍵角色。在表演藝術領域中，聲音本身是首音樂、一種韻律、一種樣態，而且更加有力地揭露台詞背後的情感。就像人們聽歌劇一樣，歌詞是什麼有時反倒不若聲音所負載的情感那般重要。演員的聲音首重能否表達人類豐富多變的情感，勝於有著一副甜美的歌唱嗓子。情感可說是聲音表現的內在驅動力，聲音的力量與情感是密不可分的，甚至可以說聲音就是情感。 本教學實踐研究計畫的主要目的是挖掘：（一）聲音是否能夠成為獨立學門，其本身即具有豐富的表演和傳遞情感的功用，而非僅能服務以語言文字為主導的劇本？（二）透過聲音的各種創意開發是否得以大幅提升學生的想像力與創造力？（三）傳統聲音訓練以個人能力提升為主體，極少共同創發一個完整的聲音作品，本課程透過集體即興創作的導引是否能讓學生得以透過群體腦力激盪，達到增進其學習效果與創意深度？透過以上三點，本課程實驗新前衛劇場大師的聲音訓練方法，佐以集體即興創作的課程形式是否得以成功轉化運用於華人世界大學教育中的聲音教學之中。 Course Design and Research on Cultivation of Voice Creativity and Collective Practice According to psychological researches, 65% of human communication consists of non-verbal interactions; the same words conveyed in different vocal expressions will produce drastically different effects. The key role of voice in human communications is thus evidently seen. In the field of performing arts, voice itself is music, a kind of rhythm, and a form, which powerfully renders the emotions under the spoken lines. Just as when people watch an opera, sometimes what is sung in the lyrics is not as important as the feelings carried in the voice of the characters. Instead of a sweet singing voice, the most crucial feature of a performer’s voice is its capability of presenting the abundant, various human emotions. Emotion is the inner drive of vocal expression. It is impossible to separate the power of voice from the emotions, and one can even say that voice is the emotion. The main objectives of this teaching practice project is to explore the following topics: First, the possibility of making voice an independent subject, given its abundant inherent function of performing and delivering emotions, which does not only serve to render the language-dominated script? Second, through various creative approaches in cultivating the possibilities of voice performance, can it greatly enhance students’ potentials in imagination and creativity? Third, traditional voice training takes improving personal abilities as the premier subject, and rarely emphasizes a complete voice performance created by teamwork. Through guiding students in a collective impromptu creative process, can this course advance their learning outcomes and creative depths by means of team brainstorming? Based on the above three issues, this course will experiment on the voice training methods of masters in avant-garde theatre, aided by the classroom format of collective impromptu creation, and look into the possibility whether such approaches can be successfully transformed and appropriated in the voice training courses of the Taiwanese university education.聲音、聲音表演、聲音開發voice, voice performance, voice cultivation